0:00:05 > 0:00:06PIANO INTRO
0:00:17 > 0:00:19VIOLIN AND PIANO CONTINUES THEN FADES
0:00:22 > 0:00:23SWING SQUEAKS
0:00:36 > 0:00:38MUSIC PLAYS - SOLO VIOLIN AND ORCHESTRA
0:00:42 > 0:00:44MUSIC CONTINUES
0:01:01 > 0:01:03SHE VOCALISES
0:01:45 > 0:01:47SHE VOCALISES
0:02:25 > 0:02:26SHE VOCALISES
0:03:01 > 0:03:03- RADIO:- The time is now 24 minutes past eight.
0:03:03 > 0:03:08Alma Deutscher wrote her first opera at the age of seven.
0:03:08 > 0:03:11She wrote a violin concerto at nine.
0:03:11 > 0:03:15And this year, her full-length opera of Cinderella will be premiered
0:03:15 > 0:03:18in Vienna. She's just 11.
0:03:18 > 0:03:21I started playing the piano when I was two.
0:03:21 > 0:03:23And the violin when I was three.
0:03:23 > 0:03:26And actually, I started to compose when I was four.
0:03:26 > 0:03:28So, writing things down on paper.
0:03:28 > 0:03:30You just found that the music was coming to you?
0:03:30 > 0:03:34Yes. I didn't even know that it was called composing them.
0:03:34 > 0:03:39I'd just sit at the piano and play the ideas I had in my head.
0:03:39 > 0:03:42When you think of musical proteges, the names Mozart,
0:03:42 > 0:03:44Schubert and Mendelssohn come to mind.
0:03:44 > 0:03:47But here's another. Alma Deutscher.
0:03:47 > 0:03:49HE SPEAKS GERMAN
0:03:53 > 0:03:54SHE SINGS
0:04:00 > 0:04:03A very young classical composer in England is now living
0:04:03 > 0:04:05her very own fairy tale.
0:04:05 > 0:04:08Alma Deutscher began playing the piano
0:04:08 > 0:04:11when she was two and the violin a year later.
0:04:11 > 0:04:15And now she has written and composed her first opera
0:04:15 > 0:04:17at just 11 years of age.
0:04:21 > 0:04:23Who's that down there?
0:04:23 > 0:04:25That's my younger sister, Helen.
0:04:28 > 0:04:29Look at the little monkey.
0:04:33 > 0:04:34So, with Cinderella,
0:04:34 > 0:04:36it's really interesting, the way you've changed the story.
0:04:36 > 0:04:39You see, in my opera,
0:04:39 > 0:04:42I don't have a shoe because I think the shoe is a little bit silly.
0:04:42 > 0:04:44The Prince doesn't find Cinderella
0:04:44 > 0:04:47with the shoe, but he finds her with a melody. So, you see,
0:04:47 > 0:04:50now she isn't just a pretty girl who cleans and keeps quiet,
0:04:50 > 0:04:54she's actually clever and she's a composer.
0:04:54 > 0:04:59And the Prince is a poet, and so what happens is that,
0:04:59 > 0:05:00as part of the plot,
0:05:00 > 0:05:04Cinderella finds a poem that was written by the Prince.
0:05:04 > 0:05:07She doesn't know that the Prince wrote this poem.
0:05:07 > 0:05:08But she loves it.
0:05:08 > 0:05:10And she's inspired to put it to music.
0:05:10 > 0:05:13And so in the ball, she sings it to the Prince.
0:05:13 > 0:05:15But she doesn't know that he wrote the words,
0:05:15 > 0:05:17and he doesn't know that she wrote the music.
0:05:17 > 0:05:21And so it's all a bit of a muddle, but in the end they find each other,
0:05:21 > 0:05:24like lyrics finds music.
0:05:25 > 0:05:27PIANO PLAYS
0:05:30 > 0:05:34Alma's opera, Cinderella, has just begun rehearsals in Vienna.
0:05:46 > 0:05:48WOMAN SINGS IN GERMAN
0:06:40 > 0:06:44What do you think? Because they're really going to play, like everybody...
0:06:44 > 0:06:46HE HUMS A MELODY
0:06:49 > 0:06:50CONVERSATION IN GERMAN
0:06:58 > 0:06:59- Glad to see you.- So am I!
0:07:01 > 0:07:02- Hello.- Hello.
0:07:05 > 0:07:10- Nice to see you.- Nice to see you. - Good to see you.
0:07:10 > 0:07:12Um, from measure six.
0:07:12 > 0:07:14PIANO PLAYS, SINGING RESUMES
0:07:27 > 0:07:31Alma's progression as a composer has been carefully recorded
0:07:31 > 0:07:33by her father, Guy.
0:07:35 > 0:07:38So, this is Alma aged seven, in Berlin,
0:07:38 > 0:07:41waking up first thing in the morning
0:07:41 > 0:07:46with a melody that she had in her head and just playing it all.
0:07:54 > 0:07:55SHE SINGS
0:07:58 > 0:08:01So she's singing one of the singers and her right hand is playing
0:08:01 > 0:08:03the other singer.
0:08:24 > 0:08:26WOMAN SINGS A SIMILAR MELODY
0:08:31 > 0:08:33SINGER AND ORCHESTRA PLAY THE SAME MELODY
0:08:48 > 0:08:51You can hear this little girl on the piano with a...
0:08:51 > 0:08:56And then you hear this, this is what was in her mind.
0:08:56 > 0:08:59You know, it's almost bloodcurdling, isn't it,
0:08:59 > 0:09:02when the opera is so dramatic.
0:09:02 > 0:09:05And it doesn't maybe look it when a little girl gets up in the morning
0:09:05 > 0:09:06and plays something on the piano.
0:09:06 > 0:09:09But that's what she would have had in her mind.
0:09:10 > 0:09:12IN GERMAN:
0:09:24 > 0:09:30Ah, yeah. So, she was playing in a concert in the north of Israel,
0:09:30 > 0:09:32so this is a type of violin course
0:09:32 > 0:09:35and masterclasses and a concert in the end.
0:10:00 > 0:10:03And we had a very long car journey back home
0:10:03 > 0:10:05and the moment we came back home,
0:10:05 > 0:10:08she essentially ran to the piano,
0:10:08 > 0:10:12she very quickly wrote just a few bars of the beginning.
0:10:25 > 0:10:26ALMA SINGS
0:10:36 > 0:10:38And this turned into the main aria
0:10:38 > 0:10:42of the opera where Cinderella composes
0:10:42 > 0:10:44music to the Prince's words that she finds.
0:11:14 > 0:11:16SHE SINGS THE SAME MELODY, IN GERMAN
0:12:02 > 0:12:05You have all the text, that's good.
0:12:05 > 0:12:06OK, perfect.
0:12:13 > 0:12:15You've got the whole score in front of you?
0:12:15 > 0:12:17Oh, yes, of course, the whole orchestral score.
0:12:17 > 0:12:18And Helen is helping you?
0:12:18 > 0:12:22Yeah, Helen is turning the pages for me!
0:12:22 > 0:12:24Because, because, you see, because it's all the orchestra,
0:12:24 > 0:12:26I'm reading all the orchestra.
0:12:26 > 0:12:28There's much more pages to turn all the time.
0:12:28 > 0:12:31When they sing it, does it sound like when you practised it?
0:12:31 > 0:12:34Quite often it sounds, you know, even better,
0:12:34 > 0:12:37even than how I think about it.
0:12:37 > 0:12:38So especially, you know,
0:12:38 > 0:12:41the duet at the end between the Prince and Cinderella.
0:12:41 > 0:12:42I think that was amazing.
0:12:42 > 0:12:45You know, singing so beautifully together.
0:12:46 > 0:12:48- You want to have one of them? - I don't like chocolate.
0:12:48 > 0:12:49You don't like chocolate!
0:12:49 > 0:12:52I don't understand that. Alma, please.
0:12:52 > 0:12:54I'll get you your own one.
0:12:54 > 0:12:57No, no, no, I'll get Alma her own one.
0:12:58 > 0:13:02Alma brings something new,
0:13:02 > 0:13:06and you can hear almost every composer, but in her own way.
0:13:06 > 0:13:09It's her own way of composing
0:13:09 > 0:13:12and I find it beautiful and really,
0:13:12 > 0:13:14I've never heard something like that before.
0:13:14 > 0:13:17- I thought about it more natural, as if you're, like, speaking.- OK.
0:13:17 > 0:13:23So, you know, it's not artificial, it's natural.
0:13:23 > 0:13:25That's Alma.
0:13:35 > 0:13:41So, Guy, I want to ask you, is it true that Alma learnt to read music
0:13:41 > 0:13:44or understand music before she learnt to read?
0:13:44 > 0:13:49Yes, that's true, she could read music when she was three,
0:13:49 > 0:13:51or just shortly after that.
0:13:51 > 0:13:53But she didn't learn to read
0:13:53 > 0:13:56until she was...until, you know, four and a half.
0:13:56 > 0:13:59So, in this hat here, I have notes,
0:13:59 > 0:14:03if you could pick four notes from this hat.
0:14:03 > 0:14:06And then, I will improvise a piece based on the notes.
0:14:07 > 0:14:10All right, hand me that, then. I'll close my eyes.
0:14:10 > 0:14:11Yes, close your eyes.
0:14:12 > 0:14:13That's one.
0:14:13 > 0:14:15SHE SINGS THE NOTE
0:14:17 > 0:14:19SHE PLAYS THE NOTE ON THE PIANO
0:14:20 > 0:14:21Two.
0:14:21 > 0:14:23SHE SINGS THE NOTE
0:14:25 > 0:14:27SHE PLAYS THE NOTE
0:14:28 > 0:14:29Three.
0:14:30 > 0:14:32SHE SINGS THE SAME NOTE AS THE FIRST CHOICE
0:14:32 > 0:14:33SHE PLAYS THE NOTE
0:14:37 > 0:14:38Four.
0:14:38 > 0:14:40SHE SINGS THE NOTE
0:14:41 > 0:14:43SHE PLAYS THE NOTE
0:14:43 > 0:14:45Hmm, difficult!
0:14:45 > 0:14:48- Really?- Yes. So I'll just take a minute to think it over.
0:14:58 > 0:15:01And then, barely 40 seconds later...
0:15:01 > 0:15:05Alma magically transformed those four random notes.
0:15:07 > 0:15:10SHE PLAYS THE FOUR NOTES
0:15:13 > 0:15:17SHE PLAYS A CONTINUOUS MELODY WITH ACCOMPANYING CHORDS
0:16:04 > 0:16:06SHE CHANGES KEY
0:16:11 > 0:16:13MELODY CONTINUES
0:16:28 > 0:16:30SHE DEVELOPS THE ORIGINAL THEME WITH A FASTER TEMPO
0:17:04 > 0:17:06SHE MODULATES TO A NEW THEME
0:17:22 > 0:17:23ORIGINAL THEME RETURNS
0:17:41 > 0:17:43PLAYING STOPS
0:17:51 > 0:17:54This started extremely early on, improvising these melodies,
0:17:54 > 0:17:58and she was around four, and in the beginning, we didn't understand.
0:17:58 > 0:18:01I remember sort of thinking, what is it she's playing,
0:18:01 > 0:18:03which tune is she trying to play?
0:18:03 > 0:18:05Because it didn't... It wasn't familiar.
0:18:05 > 0:18:08And at some stage I asked her, "Actually, what is it you're trying to play?"
0:18:08 > 0:18:10And she said, "No, no, no, it's my melody," you know,
0:18:10 > 0:18:12"it's something I hear in my head."
0:18:27 > 0:18:30It's rather fascinating, the way she's become attached
0:18:30 > 0:18:32to her skipping rope.
0:18:32 > 0:18:35Well, she got it for her birthday from her auntie.
0:18:35 > 0:18:39Before that, she used to wave various twigs and sticks around,
0:18:39 > 0:18:41and then she got that nice pink thing.
0:18:41 > 0:18:44And since then, she's never parted with it.
0:18:45 > 0:18:48I'm not a psychologist, so I don't know why it is,
0:18:48 > 0:18:49but it is a fact that she says,
0:18:49 > 0:18:51"I can't dream without my skipping rope."
0:18:54 > 0:18:55ALMA LAUGHS
0:19:24 > 0:19:26- That's good.- Yeah, I think that's nice like that. A little bit.
0:19:26 > 0:19:27A little bit.
0:19:29 > 0:19:34And just something, for the King, if on where you started on bar 154,
0:19:34 > 0:19:37just try it if you just sung those two bars an octave lower.
0:19:46 > 0:19:50Well, Alma is really a force of nature, isn't she?
0:19:52 > 0:19:57I don't know that I've come across anyone
0:19:57 > 0:20:04of that age with quite such an astonishing range of gifts.
0:20:06 > 0:20:09Yes, and now sing it up. Once more.
0:20:17 > 0:20:19It's natural for her, it's play.
0:20:21 > 0:20:26And I think it was play
0:20:26 > 0:20:31for certain brilliant composers.
0:20:31 > 0:20:36Young composers like Mozart, like Korngold.
0:20:36 > 0:20:38These are very unusual people who have this.
0:20:43 > 0:20:45Is it "machen"? I don't understand.
0:20:45 > 0:20:47This is the infinitive.
0:20:47 > 0:20:49You have to turn it into...
0:20:49 > 0:20:52- VOICEOVER:- She wanted to learn to read and we always promised her,
0:20:52 > 0:20:54well, soon you're going to school.
0:20:54 > 0:20:56And they'll teach you how to read and write.
0:20:56 > 0:20:58And then she went to the first induction day
0:20:58 > 0:21:00and she came back crying.
0:21:00 > 0:21:01And we asked, what's wrong?
0:21:01 > 0:21:04And she said, "You promised that they would teach me to read and write,
0:21:04 > 0:21:06"and they didn't teach me anything."
0:21:06 > 0:21:08And what do you think she's...
0:21:08 > 0:21:11"Wherefore art thou Romeo," what do you think she's sighing about?
0:21:11 > 0:21:14- Why are you Romeo? Why aren't you someone else?- Yes.
0:21:14 > 0:21:16Why can't you be called Matthew?
0:21:16 > 0:21:18- Or John.- Yes.
0:21:18 > 0:21:20Why aren't you a Capulet?
0:21:20 > 0:21:22Yes, why aren't you a Capulet?
0:21:22 > 0:21:23Wherefore art thou Romeo?
0:21:23 > 0:21:29The idea of home-schooling was not some pre-planned, ideological thing.
0:21:29 > 0:21:33I mean, it was an adaptation to her, essentially.
0:21:33 > 0:21:34Just says, "Oh, I don't like..."
0:21:34 > 0:21:37Oh, never mind. There are plenty of other environments.
0:21:37 > 0:21:38Exactly, exactly.
0:21:38 > 0:21:40She's not very interested,
0:21:40 > 0:21:42but he's been full of praises about Rosaline.
0:21:42 > 0:21:45Exactly. Because he says he sees other ones
0:21:45 > 0:21:50- but they're just like crows to his swan.- Exactly, darling.
0:21:50 > 0:21:52And when he's in love with Rosaline...
0:21:57 > 0:22:00- She's pretty good. - Yes, she's very good.
0:22:02 > 0:22:07What do you do, Helen, when Alma is here, composing?
0:22:07 > 0:22:09Do you leave her in peace, or do you play around?
0:22:09 > 0:22:12Well, sometimes I leave her.
0:22:12 > 0:22:14You'd better ask Alma that.
0:22:14 > 0:22:16I've got a tree climbing school
0:22:16 > 0:22:18which I teach her how to climb trees.
0:22:18 > 0:22:20And Helen goes every day to it.
0:22:20 > 0:22:23I have lots of climbing steps.
0:22:23 > 0:22:24And handstands.
0:22:24 > 0:22:26And handstands on the tree.
0:22:26 > 0:22:27And I've got five swings.
0:22:27 > 0:22:29The first one is called a padadicicha.
0:22:30 > 0:22:32- Guilerotom.- Guilerotom.
0:22:32 > 0:22:36And then majotte, balonnaire and toudemonde,
0:22:36 > 0:22:37which is a flip in the tree.
0:22:37 > 0:22:40Helen is just learning toudemonde right now.
0:22:40 > 0:22:41INDISTINCT REPLY FROM HELEN
0:22:42 > 0:22:44Majotte, toudemonde,
0:22:44 > 0:22:47this list of made-up words was my first introduction
0:22:47 > 0:22:49to Alma's imaginary world,
0:22:49 > 0:22:51which began when she was very small.
0:22:51 > 0:22:54I was telling Alma stories about characters
0:22:54 > 0:22:56that I just had in my head.
0:22:56 > 0:22:58And I was feeding Helen at the same time.
0:22:58 > 0:23:00So, in order, in a way,
0:23:00 > 0:23:02that Helen didn't get all the attention
0:23:02 > 0:23:05from me, I would make sure that I told Alma stories.
0:23:05 > 0:23:08- While you were feeding her?- While I was feeding Helen, in the evening.
0:23:08 > 0:23:10So that she would feel part of it, you know.
0:23:10 > 0:23:11So she was inspired by that, I think,
0:23:11 > 0:23:14and she wanted to make up her own stories.
0:23:14 > 0:23:18So she started talking about her country, Transylvanian,
0:23:18 > 0:23:21later she had another country, Golfen.
0:23:21 > 0:23:25These imaginary countries, countries which existed somewhere, but...?
0:23:25 > 0:23:28Exactly, like parallel worlds.
0:23:28 > 0:23:30And she was talking about this and I thought, well,
0:23:30 > 0:23:31I should write it down.
0:23:31 > 0:23:34So she would talk to me about it and I would write it down on a scrap
0:23:34 > 0:23:38piece of paper and then in the evening I just wrote up exactly what
0:23:38 > 0:23:41she said, without any editing or putting in full stops.
0:23:41 > 0:23:43So, here we are.
0:23:43 > 0:23:45- Aged four?- Aged four.
0:23:45 > 0:23:48Author of the tales of Transylvanian, Alma Deutscher.
0:23:48 > 0:23:52- Yes.- I love that, too, Transylvanian...
0:23:52 > 0:23:54- Tongue.- Tongue, that's the language, you see.
0:23:54 > 0:23:55Table, mudge.
0:23:55 > 0:23:57Chair, chack.
0:23:57 > 0:23:59Little chair, kantamish.
0:23:59 > 0:24:00Tree, zaka.
0:24:00 > 0:24:02Flower, zing.
0:24:02 > 0:24:04Toys, ruing.
0:24:04 > 0:24:05And she would remember these things.
0:24:05 > 0:24:07I mean, she also associates colours with notes.
0:24:07 > 0:24:09And...
0:24:09 > 0:24:11But it's consistent, she will remember the same...
0:24:11 > 0:24:15And with letters of the alphabet, too. Certain letters. And it's always the same.
0:24:15 > 0:24:16Nice, very nice.
0:24:16 > 0:24:17Delotung.
0:24:19 > 0:24:21Nice.
0:24:21 > 0:24:23Majotte. You've been practising, obviously.
0:24:24 > 0:24:26That's the second swing of the dryads.
0:24:26 > 0:24:28Majotte is the third swing of the dryads.
0:24:28 > 0:24:29Nice.
0:24:29 > 0:24:33And balonaire is the fourth swing of the dryads.
0:24:33 > 0:24:36- And it's in dryad language? - Yes, dryads' language.
0:24:37 > 0:24:39- Balonaire...- You can't flop over.
0:24:39 > 0:24:41Doesn't matter.
0:24:41 > 0:24:42Up.
0:24:42 > 0:24:45Go down as far as you can, try as far as you can.
0:24:45 > 0:24:49Fluster is Alma's friend in Transylvanian.
0:24:49 > 0:24:51Aurelia is Fluster's daughter.
0:24:51 > 0:24:53These are all imaginary names?
0:24:53 > 0:24:56Absolutely. And the cast list has swelled!
0:24:56 > 0:25:00I try to keep track of it as best I can.
0:25:02 > 0:25:03- So, this is Shell?- This is Shell.
0:25:03 > 0:25:05She was a big character.
0:25:05 > 0:25:08She was a powerful lady and a singer and a figure of glamour.
0:25:08 > 0:25:10And Alma used to dress up as Shell, although don't tell her
0:25:10 > 0:25:13that I said it was her dressing up, because she thinks it was Shell.
0:25:13 > 0:25:16So Shell used to arrive in our house, I should say.
0:25:16 > 0:25:17And we used to greet her
0:25:17 > 0:25:21- and treat her with due courtesy and respect.- Yes.
0:25:21 > 0:25:25Her sort of heroines, or the people she's into, they're all women?
0:25:25 > 0:25:27Yes. They are composers,
0:25:27 > 0:25:30they are women and they are glamorous and free
0:25:30 > 0:25:35and in charge and allowed to say whatever they want and...
0:25:35 > 0:25:36do whatever they want!
0:25:36 > 0:25:39And never have to pick up their socks or tidy
0:25:39 > 0:25:41their room or anything like that.
0:25:41 > 0:25:42And there are servants available?
0:25:42 > 0:25:45Yes, exactly! It's that sort of operatic world.
0:25:45 > 0:25:48So, a fairy tale world
0:25:48 > 0:25:49and magic.
0:25:49 > 0:25:53And I think music was part of that magic...
0:25:54 > 0:25:57..because it was something that you could create out of nothing.
0:26:01 > 0:26:06So, Antonin Yellowsink, he composes mainly in the romantic style,
0:26:06 > 0:26:09more like Schubert and Tchaikovsky,
0:26:09 > 0:26:13and...and Dvorak and those people.
0:26:13 > 0:26:15But Ashley is more like Bach.
0:26:15 > 0:26:17She composes fugues.
0:26:17 > 0:26:19And Shell is very much like Mozart.
0:26:19 > 0:26:21She writes sonatas like that.
0:26:21 > 0:26:23And so does Flara, actually.
0:26:24 > 0:26:30And Green Silver, she also writes more how I write,
0:26:30 > 0:26:32so, in between Mozart, Schubert,
0:26:32 > 0:26:35that kind of styles.
0:26:35 > 0:26:39You see, they each have their own, their own...
0:26:39 > 0:26:40personality.
0:26:48 > 0:26:51- This is Chaplona.- This is Chaplona, the teacher.
0:26:51 > 0:26:55You have to understand, the person who is playing is Alma.
0:26:55 > 0:26:58The person who is speaking is the teacher.
0:26:58 > 0:27:00Right. I've got it.
0:27:02 > 0:27:04Did you hear?
0:27:05 > 0:27:09And then she is talking to me, because the teacher is talking to
0:27:09 > 0:27:12the father, telling him what to do.
0:27:12 > 0:27:15- As a real teacher would sometimes do.- Yeah.
0:27:21 > 0:27:24Now, the semiquaver...
0:27:27 > 0:27:29- This is the right way. - And she's getting better.
0:27:35 > 0:27:38So, not, actually, here is not too loud.
0:27:39 > 0:27:40At the earlier periods,
0:27:40 > 0:27:46it was incredibly important for her to believe that we really believed
0:27:46 > 0:27:48that these are different characters
0:27:48 > 0:27:52and she would get extremely upset at any sign
0:27:52 > 0:27:55that anyone might doubt that, you know,
0:27:55 > 0:27:57maybe this is actually Alma herself.
0:27:58 > 0:27:59Hello, we're your guests.
0:27:59 > 0:28:00Hello.
0:28:01 > 0:28:05We tried always to go along with that imagination.
0:28:08 > 0:28:10This is my daughter, Helen.
0:28:10 > 0:28:12Helen...
0:28:12 > 0:28:14We live with these people, they were part of our life.
0:28:14 > 0:28:15And so... And we did go with it.
0:28:22 > 0:28:23And she needed it as a way of coping
0:28:23 > 0:28:25with life, I think. She really needed it.
0:28:32 > 0:28:36Never did Antonin get tired of making his melodies even more beautiful.
0:28:36 > 0:28:39Here is some sprightly music he composed.
0:28:39 > 0:28:41It ends with a flourish.
0:28:41 > 0:28:43SHE VOCALISES A MELODY
0:28:49 > 0:28:51Now, Helen, you understand this.
0:28:51 > 0:28:54Antonin loved experimenting and getting into mischief.
0:28:55 > 0:28:58Actually, he was very mischievous when he composed.
0:28:58 > 0:29:01He didn't care for the rules, much to Herr Zischab's surprise.
0:29:05 > 0:29:08I also remember the time, she was just beginning to understand
0:29:08 > 0:29:10about death and...
0:29:11 > 0:29:15You know, there is a lot of talk in here about the underworld.
0:29:15 > 0:29:17Because she understood death as the underworld.
0:29:17 > 0:29:20There is a wonderful bit about Elizabeth Schwarzkopf,
0:29:20 > 0:29:21who she knew was dead,
0:29:21 > 0:29:25and she devised this idea that you can get a ticket back
0:29:25 > 0:29:28from the underworld, to come back to life again.
0:29:28 > 0:29:30- As if the imagination... - Can take you there.
0:29:30 > 0:29:33Can take you there and can take you out of it, as well!
0:29:33 > 0:29:35Can get you out of it.
0:29:35 > 0:29:40"Elizabeth Schwarzkopf lives in the dying place, the underworld.
0:29:40 > 0:29:42"She has a ticket to come back here again.
0:29:42 > 0:29:46"And if a ticket says no, then you don't come back again.
0:29:47 > 0:29:50"And if it says yes, then you can come back again.
0:29:50 > 0:29:52"You don't have to, but you can."
0:29:54 > 0:29:56Gosh! Where did she get that from, though?
0:29:56 > 0:29:59Did you talk to her about it, or was it just from books?
0:29:59 > 0:30:00- What, death?- Yeah.- Well,
0:30:00 > 0:30:07from books and family members suffering and dying.
0:30:07 > 0:30:08So, she was aware of pain...
0:30:10 > 0:30:12..and coping with it.
0:30:12 > 0:30:15- Yeah.- You know, just very difficult.
0:30:15 > 0:30:17And if there was something scary or unpleasant,
0:30:17 > 0:30:19she could absorb it into her world.
0:30:19 > 0:30:24I mean, she could be very, very concentrated and fierce
0:30:24 > 0:30:27when it was about her art and her work.
0:30:27 > 0:30:29And in ordinary life, not at all.
0:30:29 > 0:30:36So, she's very gentle and sweet-natured and good-hearted.
0:30:36 > 0:30:40But when it came to her work, she absolutely knew what she wanted.
0:30:43 > 0:30:48When you discover this imaginative life that she has got very early on,
0:30:48 > 0:30:50- what did you think?- I thought,
0:30:50 > 0:30:53here's an imagination and the music and the words
0:30:53 > 0:30:56are all part of the same imagination,
0:30:56 > 0:30:58it's not a separate thing at all.
0:30:58 > 0:31:00And I just wanted to give her...
0:31:00 > 0:31:03just develop it and give her the space to...
0:31:03 > 0:31:05and the freedom to develop it.
0:31:05 > 0:31:08Because it was something that was so important to her,
0:31:08 > 0:31:10it made her so happy, and I just felt that she...
0:31:10 > 0:31:13she needed it at a very fundamental level.
0:31:16 > 0:31:18CONDUCTOR VOCALISES THE RHYTHM
0:31:23 > 0:31:24Drei...
0:31:26 > 0:31:29- Perfect, danke.- Very staccato.
0:31:29 > 0:31:30The King is mocking the Prince
0:31:30 > 0:31:33and almost mocking the orchestra, because he thinks
0:31:33 > 0:31:35that you are siding with the Prince.
0:31:35 > 0:31:36Recht. Drei...
0:31:47 > 0:31:48Right, drei...
0:31:57 > 0:31:58Perfect, OK.
0:31:58 > 0:32:03And the bassoon has to play loudly, louder, otherwise you can't hear it.
0:32:05 > 0:32:06Yes. Yes, yes, yes.
0:32:06 > 0:32:09CONDUCTOR SPEAKS IN GERMAN
0:32:14 > 0:32:15Just... Did the flute play this?
0:32:15 > 0:32:19- Yeah, but he played really... - You should be able to hear that.
0:32:19 > 0:32:22James, 113.
0:32:22 > 0:32:23- Also the clarinet.- Yes.
0:32:23 > 0:32:26- The clarinet played a little bit louder.- Yes, OK.
0:32:26 > 0:32:28HE SPEAKS IN GERMAN
0:32:45 > 0:32:46Yes, OK. Danke, danke.
0:32:48 > 0:32:50OK. Passe, passe.
0:32:50 > 0:32:51OK.
0:32:53 > 0:32:55Much better now, right? With the clarinet, and...
0:32:55 > 0:32:57- Yes, yes.- Perfect. All right.
0:33:02 > 0:33:04- No, no, no. Start again. - OK. It's all right, yes?
0:33:04 > 0:33:06We're just going to stop again, yes?
0:33:06 > 0:33:07All right. Once again.
0:33:13 > 0:33:15No, no, no. It's...
0:33:15 > 0:33:17Perfect, all right. Thank you, thank you.
0:33:18 > 0:33:19Yes?
0:33:20 > 0:33:23The bassoon is coming one bar too early.
0:33:24 > 0:33:26- No, he's playing over here. - Yeah, I know.
0:33:26 > 0:33:29But he's not... This only comes on this bar.
0:33:29 > 0:33:31He's playing...ta-ta-ta-ta-taa
0:33:31 > 0:33:33already here, I think he is playing it wrong,
0:33:33 > 0:33:36- in the wrong time. - No, no, no, he was playing wrong?
0:33:36 > 0:33:39- He was playing wrong. - You mean this one?
0:33:39 > 0:33:40- Yes.- OK.
0:33:40 > 0:33:42HE SPEAKS IN GERMAN
0:33:42 > 0:33:44BASSOONIST REPLIES IN GERMAN
0:33:50 > 0:33:51OK, yeah.
0:33:51 > 0:33:54OK, direkt...
0:33:55 > 0:33:56Drei, und...
0:34:01 > 0:34:02Yeah, that's right.
0:34:09 > 0:34:10Tempo.
0:34:14 > 0:34:15OK, perfect.
0:34:15 > 0:34:16HE SPEAKS IN GERMAN
0:34:20 > 0:34:21ALMA SINGS IN GERMAN
0:34:34 > 0:34:35CONDUCTOR SPEAKS IN GERMAN
0:34:39 > 0:34:41And can...
0:34:41 > 0:34:46I really want the horn to play quite a...TA-tum!
0:34:46 > 0:34:48- Yes, of course. - I couldn't really hear it.
0:34:48 > 0:34:50Yes, yes, yes. Of course.
0:34:54 > 0:34:56Yes, that's good!
0:34:57 > 0:34:59So, thank you all very much.
0:34:59 > 0:35:02We did a very good job on the first act.
0:35:02 > 0:35:04- Bravo, Alma.- Thank you very much.
0:35:04 > 0:35:06Bravo to you, you played really nicely.
0:35:06 > 0:35:09And I'll see you all tomorrow.
0:35:13 > 0:35:15Danke!
0:35:15 > 0:35:18That's the bassoonist who got such a grilling.
0:35:18 > 0:35:20I wonder what he thought of it.
0:35:21 > 0:35:23Alma in action.
0:35:23 > 0:35:24You know, it's amazing.
0:35:24 > 0:35:28She's 11 years old, she writes amazing music,
0:35:28 > 0:35:32and she knows everything about the music, every single note.
0:35:33 > 0:35:34It's...
0:35:34 > 0:35:36I have no words for this.
0:35:37 > 0:35:38It's outstanding.
0:35:45 > 0:35:48We're not necessarily geographically close, but we're all in touch.
0:35:48 > 0:35:50Yeah, yeah.
0:35:50 > 0:35:53INDISTINCT CONVERSATION CONTINUES
0:35:59 > 0:36:01How is your German now, Alma?
0:36:01 > 0:36:04Well, I'm learning all the grammar now, so...
0:36:05 > 0:36:08Ich bin nur ein Anfanger
0:36:08 > 0:36:12aber ich verstehe ein bisschen.
0:36:12 > 0:36:13I understand a bit.
0:36:13 > 0:36:16You were pretty good with all of them.
0:36:17 > 0:36:19- Thank you.- Who is in charge, by the way?
0:36:19 > 0:36:22Well, the conductor is really in charge.
0:36:24 > 0:36:27But I was giving tips about musicality and interpretation
0:36:27 > 0:36:29and tempo and things like that.
0:36:30 > 0:36:32Hmm, I thought you were in charge.
0:36:32 > 0:36:33THEY ALL LAUGH
0:36:33 > 0:36:37Now, how much of this is actually hard work and how much of it is fun?
0:36:37 > 0:36:40It's all hard work!
0:36:40 > 0:36:42Can it be hard work and fun at the same time?
0:36:42 > 0:36:44- Is that what it is? - Well, you see...
0:36:44 > 0:36:47First of all, the fun bit was really getting
0:36:47 > 0:36:49a melody, getting inspiration.
0:36:49 > 0:36:51I love that, that's not really the hard work.
0:36:51 > 0:36:53That's the nice bit.
0:36:53 > 0:36:57But the hard work is then making the modulations go
0:36:57 > 0:36:58to the right place,
0:36:58 > 0:37:00developing the melody, continuing it...
0:37:00 > 0:37:02and all that.
0:37:02 > 0:37:05And do you ever think to yourself,
0:37:05 > 0:37:06is this a gift, where does it come from?
0:37:06 > 0:37:08Why have you got this ability?
0:37:10 > 0:37:15Well, it's a mystery, I don't even know if I can answer that myself,
0:37:15 > 0:37:19how I get the melodies, the inspiration.
0:37:19 > 0:37:23But just sometimes...
0:37:23 > 0:37:25I have an inspiration in my head, it just pops into my head.
0:37:25 > 0:37:32Sometimes I hear it being played by... being sung by a voice,
0:37:32 > 0:37:35or it being played by an orchestra,
0:37:35 > 0:37:37or sometimes I've got a melody just for two horns.
0:37:37 > 0:37:41So, you see, I have this imaginary composer, in Transylvanian.
0:37:41 > 0:37:43He's called Antonin Yellowsink and he composes
0:37:43 > 0:37:45lots of beautiful melodies.
0:37:45 > 0:37:50I've actually stolen quite a few of them for Cinderella.
0:37:50 > 0:37:53Actually, one of the most important arias in Cinderella is
0:37:53 > 0:37:54Antonin Yellowsink's melody.
0:37:56 > 0:37:59The ballad, the sad aria that Cinderella sings
0:37:59 > 0:38:02when the step-sisters and mother have gone to the ball
0:38:02 > 0:38:04and left her behind is actually...
0:38:04 > 0:38:06the melody is taken from Antonin Yellowsink.
0:38:06 > 0:38:08But did you invent...? Go on.
0:38:08 > 0:38:10I noticed that also you had this motif
0:38:10 > 0:38:13and you actually gave it to him to develop.
0:38:13 > 0:38:14Yes, exactly!
0:38:14 > 0:38:17Oh, yeah. So you see, I also, I had a melody.
0:38:17 > 0:38:19A beautiful melody.
0:38:19 > 0:38:20So I showed it to Antonin
0:38:20 > 0:38:22and Antonin made a whole beautiful new version
0:38:22 > 0:38:25of it, really beautiful, which is now actually,
0:38:25 > 0:38:27is the starting of the overture of Cinderella.
0:38:27 > 0:38:30Right. And is there also a kind of...
0:38:30 > 0:38:33That's quite a sad bit, the bit you're talking about?
0:38:33 > 0:38:36- Yes.- Is Antonin able to deal with sort of darker things?
0:38:36 > 0:38:39Yes, exactly. Because, you see, I am a very happy person,
0:38:39 > 0:38:42so it's a bit strange that I get these very sad melodies.
0:38:42 > 0:38:45And I think maybe that's because Antonin Yellowsink
0:38:45 > 0:38:48sometimes gets them and then I take them.
0:38:48 > 0:38:50You said, "I don't like being compared to Mozart.
0:38:50 > 0:38:54"If I was an old man with a beard, then people..."
0:38:54 > 0:38:55- Yes!- What made you say that?
0:38:55 > 0:38:57What's wrong with old men with beards?
0:38:57 > 0:38:59I'm an old man with a beard.
0:38:59 > 0:39:00No, but I mean,
0:39:00 > 0:39:03people like Brahms, who have been dead a long time ago,
0:39:03 > 0:39:05they are old and fat.
0:39:05 > 0:39:09And, you know, they are taken extremely seriously because of that.
0:39:09 > 0:39:13Well, nobody really took a young girl very seriously.
0:39:13 > 0:39:16Also, isn't there something behind you, your piano at home,
0:39:16 > 0:39:19you've got a picture of a woman composer?
0:39:19 > 0:39:21Yes. Nannerl, who is Mozart's sister.
0:39:21 > 0:39:25Because, you see, she was also very talented at composing but she wasn't
0:39:25 > 0:39:27allowed to compose because she was a girl.
0:39:27 > 0:39:31So she couldn't publish any compositions under her own name,
0:39:31 > 0:39:35she just had to stay at home and knit and cook and do the cleaning.
0:39:35 > 0:39:38And is that why you defiantly decided that
0:39:38 > 0:39:41your Cinderella wasn't just going to be a girl who fitted the shoe?
0:39:41 > 0:39:45Yes, exactly. Because I didn't want Cinderella to be just another girl
0:39:45 > 0:39:48who looked pretty and keeps quiet and cleaned the floor.
0:39:48 > 0:39:50But I actually wanted her to be, you know, clever,
0:39:50 > 0:39:52and I wanted her to be a composer.
0:39:52 > 0:39:54And as I had this melody already there,
0:39:54 > 0:39:56with this special, haunting chord,
0:39:56 > 0:39:58I suddenly thought that this... the Prince could be haunted
0:39:58 > 0:40:01by this chord but not remember how it continues.
0:40:01 > 0:40:04But then he has a brainwave that he will search
0:40:04 > 0:40:06everywhere in the kingdom and sing the beginning of it,
0:40:06 > 0:40:09and only the girl who can finish it with the right haunting chord is
0:40:09 > 0:40:10the one he is looking for.
0:40:39 > 0:40:41- You have to do quite a long one.- OK.
0:40:46 > 0:40:48- Like you suddenly remember something.- OK, OK.
0:41:23 > 0:41:24Frightening, isn't it?
0:41:24 > 0:41:27Have you checked, is there a chip somewhere, hidden?
0:41:27 > 0:41:29An incredible talent.
0:41:31 > 0:41:34These kind of things, you cannot teach anybody.
0:41:34 > 0:41:37I think it's a talent, and it's manifested
0:41:37 > 0:41:41in an 11 going on 12-year-old girl.
0:41:44 > 0:41:47Ladies and gentlemen, can I introduce you... Alma, come here!
0:41:47 > 0:41:49Can I introduce you to Alma Deutscher?
0:41:51 > 0:41:55Now, tell us about the piece you are going to play.
0:41:56 > 0:42:02Well, I'm going to play with this wonderful orchestra and with Gareth,
0:42:02 > 0:42:03this wonderful conductor,
0:42:03 > 0:42:08a movement of my own violin concerto
0:42:08 > 0:42:11that I composed myself when I was nine.
0:42:11 > 0:42:14APPLAUSE
0:42:17 > 0:42:20Just imagine, Alan, you're playing your own composition.
0:42:20 > 0:42:23I could never write a song and sing it.
0:42:23 > 0:42:25She has a very natural instinct.
0:42:40 > 0:42:45Who knows what the future will bring for her, but at the moment...
0:42:47 > 0:42:48..life is her oyster, isn't it?
0:42:48 > 0:42:52She can have anything for the future,
0:42:52 > 0:42:54only if she takes care of it.
0:43:02 > 0:43:04So, remember, Helen, on the end...
0:43:05 > 0:43:08First time, you lead, is that it?
0:43:08 > 0:43:10I want to go from, um...
0:43:10 > 0:43:15Alma has written a piece for two violins, which she'll perform
0:43:15 > 0:43:17with her sister, Helen.
0:45:12 > 0:45:14There is a sense of phrasing which...
0:45:16 > 0:45:20..many people two or three or four times her age would...
0:45:21 > 0:45:23..would be lucky to have.
0:45:23 > 0:45:25There is a sense...
0:45:25 > 0:45:27I go back to it again,
0:45:27 > 0:45:30this idea of what the tension and release is
0:45:30 > 0:45:32and what the harmony does
0:45:32 > 0:45:35that seems to be completely inborn to her.
0:45:35 > 0:45:37This is not something you can teach.
0:45:37 > 0:45:43And...I haven't really seen anything like it.
0:46:07 > 0:46:09So, that's Nannerl Mozart?
0:46:09 > 0:46:10Mozart's sister.
0:46:11 > 0:46:14She was a bit like you two, she was...
0:46:14 > 0:46:17she was what, sort of about 12 or something, and he was about eight?
0:46:17 > 0:46:19Yes. She was his older sister.
0:46:19 > 0:46:21And they went touring together, didn't they?
0:46:21 > 0:46:23Exactly, when they were young, when they were children.
0:46:23 > 0:46:26When she was a child, she was allowed to perform with Mozart.
0:46:26 > 0:46:29But when she grew older, she wasn't allowed to any more,
0:46:29 > 0:46:30and certainly not compose.
0:46:30 > 0:46:33It's great that she is sitting behind you, not forgotten.
0:46:33 > 0:46:35Exactly.
0:46:40 > 0:46:43The whole family have decamped to Vienna
0:46:43 > 0:46:47as rehearsals intensify and the first night looms.
0:46:49 > 0:46:51Today's rehearsal is open to the press.
0:46:57 > 0:47:00The legendary conductor Zubin Mehta is also coming.
0:47:00 > 0:47:05- Hi.- Hello!- How are you, my love? - I'm very well.
0:47:05 > 0:47:07I'm very excited.
0:47:07 > 0:47:09WOMAN SINGS IN GERMAN
0:47:35 > 0:47:37Alma, I'm Katie. Very nice to meet you.
0:47:37 > 0:47:39That sounded fantastic...
0:47:42 > 0:47:44Well, I got...
0:47:44 > 0:47:47I actually started it when I was eight and I was collecting
0:47:47 > 0:47:49lots of material.
0:47:49 > 0:47:51REPORTER SPEAKS IN GERMAN
0:47:55 > 0:47:57I just get these melodies when I'm in...
0:47:57 > 0:47:59called an improvising mood, I call it.
0:48:09 > 0:48:11There were a lot of media there today.
0:48:11 > 0:48:13How is she coping?
0:48:13 > 0:48:17Well, it's... it certainly is intense.
0:48:17 > 0:48:20More for Alma than for us because, you know, we just have to...
0:48:22 > 0:48:25..stay in the background and let her do the speaking.
0:48:27 > 0:48:31She doesn't terribly enjoy sitting and giving interviews as such.
0:48:31 > 0:48:33But she is getting used to it.
0:48:33 > 0:48:36But if she says, "I'm really too tired," then we won't do it.
0:48:38 > 0:48:39And she knows that...
0:48:41 > 0:48:46..well, essentially that is the way of making an opera known
0:48:46 > 0:48:49to the world, so that's the real motivation.
0:48:49 > 0:48:53She really wants her opera to be known and she wants it to be put on
0:48:53 > 0:48:55in different places, so that's...
0:48:55 > 0:48:59so that's the contribution of how to make it happen.
0:49:07 > 0:49:08Crescendo.
0:49:17 > 0:49:20There shouldn't be too much of a break to the...
0:49:20 > 0:49:21between...tum and...
0:49:23 > 0:49:25OK, OK. So not so much. OK.
0:49:25 > 0:49:27HE SPEAKS IN GERMAN
0:49:33 > 0:49:35- Danke, danke. - Here, it wasn't together.
0:49:35 > 0:49:37Yes, yes! So...
0:49:48 > 0:49:51It's just the first violins and the second violins together.
0:49:51 > 0:49:53It wasn't together.
0:49:53 > 0:49:55HE SPEAKS IN GERMAN
0:49:58 > 0:49:59I want the horn to be louder,
0:49:59 > 0:50:02because no-one can really hear. That should be really loud.
0:50:02 > 0:50:04And here...
0:50:06 > 0:50:09I want the horn to play really forte, to be really clear.
0:50:14 > 0:50:16It's extremely tiring now, because I'm working on everything.
0:50:16 > 0:50:18I've got to listen to everything, the orchestra,
0:50:18 > 0:50:22and whenever there is a mistake, you know, I have to correct it.
0:50:22 > 0:50:26If the tempo is right, and listen to the singers as well.
0:50:26 > 0:50:29So it's very tiring, but very exciting.
0:50:29 > 0:50:31But I'm going to get it right, it's going to be a success.
0:50:35 > 0:50:37Perfect. Sehr gut.
0:50:40 > 0:50:43Check the oboe didn't come in twice, here and here.
0:50:43 > 0:50:44Yeah, she just doubles...
0:50:47 > 0:50:49- I get it now.- And also here.
0:50:49 > 0:50:50Yeah, yeah.
0:51:03 > 0:51:04Yeah, you can't hear it.
0:51:04 > 0:51:07Too soft, you can hardly hear it at all.
0:51:07 > 0:51:08And...
0:51:12 > 0:51:17- SIMON RATTLE:- You don't have to be ten or 11 or 12 to be
0:51:17 > 0:51:20an irritatingly exacting composer.
0:51:22 > 0:51:26And it's interesting, she's come and listened to a lot of rehearsals and
0:51:26 > 0:51:29she's also listened to what I've said to orchestras.
0:51:29 > 0:51:33I'm sure she's gone to many other people's rehearsals and noticed,
0:51:33 > 0:51:38"Oh, this made a real difference when you asked them to do that."
0:51:38 > 0:51:39And so...
0:51:39 > 0:51:42she's soaking it up like a sponge.
0:51:42 > 0:51:45THEY SPEAK IN GERMAN
0:52:09 > 0:52:12One of the things I most love is when a piece is being born
0:52:12 > 0:52:16and you are hearing those sounds for the first time -
0:52:16 > 0:52:20composer, conductor, players, this is a...
0:52:20 > 0:52:22That's a holy moment.
0:52:36 > 0:52:40Well, you know, I've heard it loads and loads of times in the rehearsals, of course.
0:52:40 > 0:52:43But when it's on the stage and all the costumes
0:52:43 > 0:52:45and they are all acting it, you know,
0:52:45 > 0:52:48it really looks so, so real, so convincing.
0:52:48 > 0:52:52You know, sometimes I forget and I almost think that it really is real.
0:52:52 > 0:52:54Just put your fluffy boots on.
0:52:58 > 0:53:00Gloves on. What about your violin?
0:53:01 > 0:53:03I've got the violin.
0:53:20 > 0:53:23What did you feel about an 11-year-old girl writing an opera?
0:53:25 > 0:53:27You sort of stand in...
0:53:27 > 0:53:31It's unbelievable. I mean, I can hardly put it together in my brain.
0:53:31 > 0:53:32I cannot put it together.
0:53:32 > 0:53:34It's something I've never experienced.
0:53:34 > 0:53:37And also, I love the solution she found with, um ...
0:53:37 > 0:53:39with the poem and the composition.
0:53:39 > 0:53:43I think that is so...such a good development in the story.
0:53:46 > 0:53:49It's extraordinary for a 12-year-old,
0:53:49 > 0:53:53and yet she is capable of garnering some sort of...
0:53:53 > 0:53:55some sort of core of emotions,
0:53:55 > 0:53:58some sort of raw feeling in her music, which actually,
0:53:58 > 0:54:01for someone with relatively little life experience,
0:54:01 > 0:54:04you wouldn't think they would be able to do that.
0:54:16 > 0:54:20- SIMON RATTLE:- She's just at the beginning and she has a range
0:54:20 > 0:54:22of gifts where she could do anything.
0:54:25 > 0:54:28But it won't always flow so easily.
0:54:31 > 0:54:34What experience does is to show you
0:54:34 > 0:54:36just how difficult it is.
0:54:41 > 0:54:45But we'll all be there for her when it gets hard,
0:54:45 > 0:54:48and if it doesn't get hard, we'll be thrilled.
0:54:49 > 0:54:51SINGING IN GERMAN:
0:56:00 > 0:56:04It's amazing that after all this, you know, preparation,
0:56:04 > 0:56:05essentially a whole year,
0:56:05 > 0:56:09suddenly all this thing that Alma had in her mind,
0:56:09 > 0:56:11now I can actually hear it.
0:58:54 > 0:58:56APPLAUSE
0:58:57 > 0:58:59CHEERING
0:59:27 > 0:59:29- Thank you very much. - Is it possible to make a photo?
0:59:29 > 0:59:31Yeah.
0:59:33 > 0:59:36Amazing, you did absolutely amazing.
0:59:36 > 0:59:37Fantastic.
0:59:39 > 0:59:42I watched it many times, but it was even nicer.
0:59:42 > 0:59:43Thank you.
0:59:52 > 0:59:54Oh, look at the picture.
0:59:55 > 0:59:56"At the end of the evening,
0:59:56 > 0:59:59"the little girl in the red dress received a standing ovation
0:59:59 > 1:00:03"and hearty cries of 'Bravo!' rang out across the hall."
1:00:03 > 1:00:06- That sounds like one of your... - I know!- ..one of your biographies...
1:00:06 > 1:00:10- I know.- ..biographies of Antonin. - I know.
1:00:11 > 1:00:15"Cinderella is a fairy tale with a happy ending.
1:00:15 > 1:00:19"Deutscher's own fairy tale, you sense, is just beginning."
1:00:20 > 1:00:21Terrific, darling.
1:00:38 > 1:00:43Last summer, the sisters paid a visit to Mozart's childhood home
1:00:43 > 1:00:47and played Alma's music on the young Mozart's violins.
1:00:49 > 1:00:54Unlike Mozart's sister Nannerl, no-one is holding Alma back.